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The first definitive feature documentary to lend new and compelling perspectives on the partnership, both professional and personal, of director James Ivory, producer Ismail Merchant, and their primary associates, writer Ruth Prawer Jhabvala and composer Richard Robbins. Footage from more than fifty interviews, clips, and archival material gives voice to the family of actors and technicians who helped define Merchant Ivory’s Academy Award-winning work of consummate quality and intelligence. With six Oscar winners among the notable artists participating, these close and often long-term collaborators intimately detail the transformational cinematic creativity and personal and professional drama of the wandering company that left an indelible impact on film culture.

This drama is based on a real life figure Kim Man-deuk who was living in Jeju Island. She goes through a lot of changes in her life; at first she becomes a Gisaeng but turned herself into a merchant, and then becomes one of the biggest philanthropists in Joseon Dynasty. Man-deuk gets adopted by Granny at a young age. With great efforts, she becomes a Gisaeng who has outstanding talents in various areas. However, she gives up everything and runs away with her lover Jeong Hong-soo. She gets caught and sends to the transitory wards for epidemics for one year. When she came out from the wards, she starts to take care of the Gisaengs who are suffering from illness. Man-deuk goes into a business and restores the business ethics in Jeju. Meanwhile, Moon-sun, who used to be a friend of Man-deuk, feels a sense of inferiority and competes with Man-deuk’s business.

Jim Rendall is 6 when his family gets killed. 25 years later he finds out why.

Jim Rendall is 6 when his family gets killed. 25 years later he finds out why.

A nasty "businessman" strives to get a deal back on track after an archaeologist removes a computer chip from an artifact before it is stolen.

Many great men come from humble beginnings. During the end of the tumultuous Chosun Dynasty, Chun Bong Sam is a poor peddler who inherits a run-down inn. Through hard work and perseverance against a corrupt bureaucracy, Bong Sam achieves great success and becomes a powerful merchant. Can he help shape the way that industry and business should be done in the emerging modern era?It is based on the novel “Gaekju” by Kim Joo Young.

Pacific Overtures is a musical with music and lyrics by Stephen Sondheim, a libretto by John Weidman, and additional material by Hugh Wheeler. The musical is set in 1853 Japan and follows the difficult Westernization of Japan, through the lives of two friends caught in the change. The title of the work is ironic, nodding toward "overture" as a musical form, noting that the initiatives of the Western powers for commercial exploitation of the Pacific nation were anything but "pacific" (or peaceable) overtures. Built around a quasi-Japanese pentatonic scale, the music contrasts Japanese contemplation ("There is No Other Way") with Western ingenuousness ("Please Hello," "Pretty Lady"). 　　The original Broadway production of Pacific Overtures in 1976 was presented in Kabuki style, with men playing women's parts and set changes made in full view of the audience by people dressed in black. It opened to mixed reviews and closed after six months, nevertheless being nominated for ten Tony Awards. According to Steven Suskin, the score is "uniformly interesting" and contains "some of Sondheim's finest writing".

Pacific Overtures is a musical with music and lyrics by Stephen Sondheim, a libretto by John Weidman, and additional material by Hugh Wheeler. The musical is set in 1853 Japan and follows the difficult Westernization of Japan, through the lives of two friends caught in the change. The title of the work is ironic, nodding toward "overture" as a musical form, noting that the initiatives of the Western powers for commercial exploitation of the Pacific nation were anything but "pacific" (or peaceable) overtures. Built around a quasi-Japanese pentatonic scale, the music contrasts Japanese contemplation ("There is No Other Way") with Western ingenuousness ("Please Hello," "Pretty Lady"). 　　The original Broadway production of Pacific Overtures in 1976 was presented in Kabuki style, with men playing women's parts and set changes made in full view of the audience by people dressed in black. It opened to mixed reviews and closed after six months, nevertheless being nominated for ten Tony Awards. According to Steven Suskin, the score is "uniformly interesting" and contains "some of Sondheim's finest writing".